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Abstract

The main goal of the paper is to present the stylistic-pragmatic approach to the currently preferred and not fully explored subject of emotions and its influence in the specific sport-media sphere. In terms of cognitive-emotional aspect of communication, the paper reflects on intellectuality and emotionality (rationality and emotionality) and given the assumption that communication as human activity is based on the interaction of cognition, the paper focuses on the basic research questions: Do we need words to feel?; How can emotions be implemented in speech?; What is the way the emotions are communicated in media language and how they can be viewed and interpreted in the media context? The paper presents semantically related concepts of emotionality and expressivity; it indicates their relation and the extent of their competence in the language of media sport. In terms of theoretical understanding of the category of expressivity by J. Zima (1961), it focuses on the definition of the term contextual emotionality. The paper concentrates on the naming of goal as a structural indicator of emotionality, which dominantly characterizes the commentator’s speech. It is present in media verbal interaction and indicates intensity of experience of communicated event during the direct broadcasting of ice-hockey.

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prehľadový príspevok venovaný ne- meckým prevzatiam v ruštine. Po základných informáciách o dejinách nemecko-jazykových kontaktov nasledujú súpisy prevzatí z novej hornej nemčiny vo vybraných tematických skupi- nách ruskej slovnej zásoby (každodenný život; kultúra a umenie; oddych, šport; gastronómia; zovňajšok človeka, oblečenie; prírodné vedy [na ilustráciu sa uvádza len lexika začínajúca sa na písmená a – d]), ako aj syntetizujúca charakteristika ich morfologickej (genus prevzatých substantív) a sémantickej adaptácie v ruštine. V závere príspevku autori vyslovujú

Wits or Sport upon Sport, in three successive editions during the Restoration period, in 1662 (first edition), 1672 (second edition) and 1673, when the second volume of the collection was also published. At first sight, transforming comedies and tragedies into ‗farces‘ or ‗drolls‘, by cutting out only the comical scenes of Shakespeare‘s (as well as other Elizabethan or Jacobean authors‘) plays appears to be a downgrading operation, especially in comparison with the loftiness of the Shakespearian drama. As Škrobánková notices, in the first edition the original

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